P-Cug (Coimbra) Biblioteca Geral da Universidade MM 0018

MM 0018

P-Cug MM 0018

Source type
Subcategory of source
Document type

Antiphons (5), Canticles (3), Hymns (9), Invitatorium (1), Lesson (1), Marian antiphon (1), Masses (1), Mass sections (4), Motets (2), Passion (sections) (3), Psalms (20), Responds (3), Responsories (5), Misc. (1) (=59)

Type of script
Type of notation

Calligraphic initials (in red or black ink), fols. 01v-06r; 011v-012r; 016v-028r; 034v-039r; 052v-053r; 058v-064r; 082v-089r; 093v-094; 095v-100r; 104v-113r; 117r; 118v-122r. Boxed initials, fols 123v-124r


'LJvro de diuersa musica do P(adr)e Dom Pedro Conigo Regular de S(anc)to Augustinho' (fol. 01r). 'cú quatuor voc Dóno Petro (fol. 01v). 'cú quinque vocibus', in red ink (fol. 05v). Names of voice parts in red ink (fols. 05v-07r). 'In festo Corporis christi: psalmi'; 'Dóno Petro' and 'prim(us) tonus' next to intonation (in red ink) (fol. 007v). Voice names in red ink, fol. 08v. 'Terceiro' next to intonation (in red ink) (fol. 011v). 'Quarto tom' next to intonation (in red ink) (fol. 012v). 'Domini Petri' (fol. 016v). 'Dni Petri' (fol. 020v). 'Dominica in ramis palmarum. Dóno Petro' (fol. 031r). 'feria tertia' (fol. 034v), 'Domni Petri. Can. S. +' (fol. 035r). 'Guerreiro' (fol. 038v). 'Responsso 2º Do Natal' (fol. 040v), 'Dom Pedro da Esperança' (fol. 041r). 'Versso Para instrumentos' (fol. 041v), 'Dom Pedro da Esperança' (fol. 042r); voice names on fols. 041v-042r. 'Responsso 4º Do Natal' (fol. 042v), 'Dom Pedro da Esperança' (fol. 043r), and voice names. 'Versso Pa instrumentos' (fol. 043v), 'Dom Pedro da Esperança' (fol. 044r), and names of instrumental parts. 'Responsso 5º Do Natal' (fol. 044v), 'Dom Pedro da Esperança' (fol. 045r), and voice names. 'Versso Pa instrumentos' (fol. 044v), 'Dom Pedro da Esperança' (fol. 045r), and names of instrumental parts. 'Responsso 7º Do Natal' (fol. 046v), 'Dom Pedro da Esperança' (fol. 047r), and voice names. 'Versso Pa instrumentos' (fol. 047v), 'Dom Pedro da Esperança' (fol. 048r), and names of instrumental parts. 'Octaui toni cú octo uocib(us). Chorus primus' (fol. 052v), 'Chor(us) 2(us) Dóno Petro Canónico' (in red ink) (fol. 053r). Voice names in red ink (fols. 054v-058r). 'In festo Ascentionis dni. Ad nonam. Cú 4. voc.' (fol. 058v). 'Iº Psalmo' (fol. 60r), 'D. Gaspar' (fol. 061r). '2º Psalmo (fol. 055v), 'D. Pedro da esperança' (fol. 066r). '3º Psalmo' (fol. 067v), 'D. Pedro da esperança' (fol. 068r). 'Missa de Quadragessima A 4 (fol. 070v), 'Domnus Petrus ab spe' (fol. 071r), and voice names (headings repeated, fols. 071v-073r). 'In Dominica Passionis A.4.' (fol. 073v), 'Domnus Petrus ab spe' (fol. 074r), and voice names. 'Tertius modus. Don(us) Petrus' (in red ink) (fol. 077v). Voice names in red ink, fols. 079v-080r. 'Chor(us) 1(us) cú octo voccib(us) Dóno Petro’ (fol. 082v), 'Chorus 2(us)' (fol. 083r), and voice names (in red ink). 'cú quinq(ue) vos' (fol. 83v)' and voice names in red ink (fols. 803v-084r). 'Cum tribus Vocibus' (fol. 084v). 'Resposta a quatro' (fol. 085r); and voice names in red ink (fols. 084v-085r). Voice names, fols. 084v-085r. 'cú octo uoc. Chorus I(us). Petrus canonicus', 'chorus 2(us) (fol. 087r), and voice names in red ink. 'a sete Dóno Pedtro (fol. 93v) and voice names (fols. 093v-095r). 'a 8º Dóno Petro (fol. 095v), 'a 8º' (fol. 96r), and voice names (fols. 095v-096r). 'Himnus. cú octo uocibus chor(us) I(us) (in red ink) (fol. 101v), 'Chorus 2(us)' (in red ink), 'Dóno Petro auctore' (in black ink) (fol. 102r), and voice names in red ink (fols. 101v-104r). 'Dono Petro Canónico' (fol. 113v). 'In festo sanctae Trinitatis Dono Petro' (in red ink) (fol. 115v). 'In festo S. Joanis baptistae' (fol. 116v). 'Secundi toni Dono Petro auctore' (fol. 123r). 'Secúdi toni' (in red ink) (fol. 124v). 'Quinto modo' (in red ink) (fol. 126v). 'Secúdi toni' (in red ink) (fol. 128v). 'a cinquo reposta', with voice names in red ink (fols. 130v-131r)

Condition of document

Generally good, but with some discolouration caused by dampness, and some ink bleed-through with loss of notes in central section due to ink corrosion (especially fols. 058-064)

Page layout

Choirbook format, 473 x 375 mm


i + 131 + i. Modern pencil foliation


MS compiled as single project. Folios probably gathered and bound (even if loosely) before the music was copied (cf. Rees 1995, pp. 199-200)

2 paper types; 2 watermarks. Mark on paper 1 belongs to Briquet's "Pèlerin" type (cf. Rees 1995, pp. 372, 393)

Old (possibly original) soft covers of beige leather


High degree of consistency in number, layout and dimensions of staves indicates that MS was compiled as a single project, despite the use of several different rastra (Rees 1995, p. 200). Double vertical-line borders in red ink on each page. It was originally copied by two scribes, who had also copied P-Cug MM 8. One of these was the composer Pedro de Cristo (d. 1618), who was the first scribe to work on this manuscript. He originally left gaps between pieces and groups of pieces which were later filled by other scribes (Rees 1995, pp. 199-200)


REES, Owen, 'Newly Identifed Holograph Manuscripts from Late-Renaissance Portugal', Early Music, 1994, 22, pp. 261-77

REES, Owen, Polyphony in Portugal c. 1530 – c. 1620: Sources from the Monastery of Santa Cruz, Coimbra (New York & London, Garland, 1995), pp. 195-200, 372, 393

REES, Owen (ed.), Music by Pedro de Cristo: An Edition of the Motets from Coimbra, Biblioteca Geral da Universidade, MM 33 (Amsterdam, Harvard Academic Publishers, 1998) [Introduction includes list of works by Pedro de Cristo in surviving Portuguese sources]

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